Chicano or Chicana is an ethnic identity for Mexican Americans who have a non-Anglo self-image, embracing their Mexican Native ancestry. Chicano was originally a classist and racist slur used toward low-income Mexicans that was reclaimed in the 1940s among youth who belonged to the Pachuco and Pachuca subculture. In the 1960s, Chicano was widely reclaimed in the building of a movement toward political empowerment, ethnic solidarity, and pride in being of indigenous descent. Chicano developed its own meaning separate from Mexican American identity. Youth in barrios rejected cultural assimilation into the mainstream American culture and embraced their own identity and worldview as a form of empowerment and resistance. The community forged an independent political and cultural movement, sometimes working alongside the Black power movement.
Tonantzin is a Nahuatl title composed of to- "our" + nān "mother" + -tzin "(honorific suffix)". When addressing Tonantzin directly, men use the suffixed vocative form Tonāntziné [], and women use the unsuffixed vocative form Tonāntzín [].
Sandra Cisneros is an American writer. She is best known for her first novel, The House on Mango Street (1983), and her subsequent short story collection, Woman Hollering Creek and Other Stories (1991). Her work experiments with literary forms that investigate emerging subject positions, which Cisneros herself attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards, including a National Endowment for the Arts Fellowship, was awarded one of 25 new Ford Foundation Art of Change fellowships in 2017, and is regarded as a key figure in Chicano literature.
Gloria Evangelina Anzaldúa was an American scholar of Chicana feminism, cultural theory, and queer theory. She loosely based her best-known book, Borderlands/La Frontera: The New Mestiza (1987), on her life growing up on the Mexico–Texas border and incorporated her lifelong experiences of social and cultural marginalization into her work. She also developed theories about the marginal, in-between, and mixed cultures that develop along borders, including on the concepts of Nepantla, Coyoxaulqui imperative, new tribalism, and spiritual activism. Her other notable publications include This Bridge Called My Back: Writings by Radical Women of Color (1981), co-edited with Cherríe Moraga.
New tribalism is a theory by queer Chicana feminist Gloria E. Anzaldúa to disrupt the matrix of imposed identity categories that the hegemonic culture imposes on people in order to maintain its power and authority. Anzaldúa states that she "appropriated" and reused the term from David Rieff, who had "used it to criticize [her] for being 'a professional Aztec' and for what he saw as [her] naive and nostalgic return to indigenous roots." Rieff stated that Anzaldúa should "think a little less about race and a little more about class." In response, Anzaldúa developed the concept in order to form an inclusive social identity that "motivates subordinated communities to work together in coalition."
Norma Elia Cantú is a Chicana postmodernist writer and the Murchison Professor in the Humanities at Trinity University in San Antonio, Texas.
Chicana feminism is a sociopolitical movement, theory, and praxis that scrutinizes the historical, cultural, spiritual, educational, and economic intersections impacting Chicanas and the Chicana/o community in the United States. Chicana feminism empowers women to challenge institutionalized social norms and regards anyone a feminist who fights for the end of women's oppression in the community.
Because Juan Diego did not speak Spanish, it has been proposed by multiple authors and analysts that the name Guadalupe, referring to the Virgin of Guadalupe, was likely derived from a word in the Nahuatl language.
Mexican American literature is literature written by Mexican Americans in the United States. Although its origins can be traced back to the sixteenth century, the bulk of Mexican American literature dates from post-1848 and the United States annexation of large parts of Mexico in the wake of the Mexican–American War. Today, as a part of American literature in general, this genre includes a vibrant and diverse set of narratives, prompting critics to describe it as providing "a new awareness of the historical and cultural independence of both northern and southern American hemispheres". Chicano literature is an aspect of Mexican American literature.
Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature.
Mestiza Double Consciousness is a concept coined by Peruvian-American Sociologist Sylvanna Falcón in her study, "Mestiza Double Consciousness: The Voices of Afro-Peruvian Women on Gendered Racism". It attempts to explain how Afro-Peruvian women have become engaged in activism and organized against racism, how they have become aware of their social positions, and how they have formed a different consciousness that did not previously exist, which Falcón calls the "Mestiza Double Consciousness."
Chicana literature is a form of literature that has emerged from the Chicana Feminist movement. It aims to redefine Chicana archetypes in an effort to provide positive models for Chicanas. Chicana writers redefine their relationships with what Gloria Anzaldúa has called "Las Tres Madres" of Mexican culture by depicting them as feminist sources of strength and compassion.
Friends from the Other Side / Amigos del Otro Lado (1993) is a bilingual (Spanish/English) Latino children's book written by Mexican American/Chicana scholar Gloria E. Anzaldúa and illustrated by Consuelo Méndez Castillo. It is loosely based on Anzaldúa's early life in South Texas and tells the story of a young Chicana girl, Prietita, living near the US-Mexican border who befriends and helps a young Mexican boy, Joaquín, who has recently immigrated.
Latino literature is literature written by people of Latin American ancestry, often but not always in English, most notably by Mexican Americans, Puerto Ricans, Cuban Americans, and Dominican Americans, many of whom were born in the United States. The origin of the term "Latino literature" dates back to the 1960s, during the Chicano Movement, which was a social and political movement by Mexican Americans seeking equal rights and representation. At the time, the term "Chicano literature" was used to describe the work of Mexican-American writers. As the movement expanded, the term "Latino" came into use to encompass writers of various Latin American backgrounds, including Mexican, Puerto Rican, Cuban, and others.
Border Art is a contemporary art practice rooted in the socio-political experience(s), such as of those on the U.S.-Mexico borderlands, or frontera. Since its conception in the mid-80's, this artistic practice has assisted in the development of questions surrounding homeland, borders, surveillance, identity, race, ethnicity, and national origin(s).
The term Chicanafuturism was originated by scholar Catherine S. Ramírez which she introduced in Aztlán: A Journal of Chicano Studies in 2004. The term is a portmanteau of 'chicana' and 'futurism', inspired by the developing movement of Afrofuturism. The word 'chicana' refers to a woman or girl of Mexican origin or descent. However, 'Chicana' itself serves as a chosen identity for many female Mexican Americans in the United States, to express self-determination and solidarity in a shared cultural, ethnic, and communal identity while openly rejecting assimilation. Ramírez created the concept of Chicanafuturism as a response to white androcentrism that she felt permeated science-fiction and American society. Chicanafuturism can be understood as part of a larger genre of Latino futurisms.
Mission Cultural Center for Latino Arts (MCCLA) is an arts nonprofit that was founded in 1977, and is located at 2868 Mission Street in the Mission District in San Francisco, California. They provide art studio space, art classes, an art gallery, and a theater. Their graphics department is called Mission Grafica, and features at studio for printmaking and is known for the hand printed posters. It was formerly named, Centro Cultural de La Mission.
Spiritual activism is a practice that brings together the otherworldly and inward-focused work of spirituality and the outwardly-focused work of activism. Spiritual activism asserts that these two practices are inseparable and calls for a recognition that the binaries of inward/outward, spiritual/material, and personal/political all form part of a larger interconnected whole between and among all living things. In an essay on queer Chicana feminist and theorist Gloria E. Anzaldúa's reflections on spiritual activist practice, AnaLouise Keating states that "spiritual activism is spirituality for social change, spirituality that posits a relational worldview and uses this holistic worldview to transform one's self and one's worlds."
The Coyolxauhqui imperative is a theory named after the Aztec goddess of the moon Coyolxauhqui to explain an ongoing and lifelong process of healing from events which fragment, dismember, or deeply wound the self spiritually, emotionally, and psychologically. The imperative is the need to look at the wounds, understand how the self has been fragmented, and then reconstruct or remake the self in a new way. Repeatedly enacting this process is done in the search for wholeness or integration. The concept was developed by gay Chicana feminist Gloria E. Anzaldúa.
